SHOW: MIRAGE (MAY 26 – JUNE 22, 2015, CUBA)

COLL.EO is involved in two art events at 12th Havana Biennial in Havana, Cuba.

Today we are announcing the first, entitled...

MIRAGE

Casa De Cultura De Guanabacoa, Cuba

Collateral exhibition to the 12th Havana Biennial

May 26 – June 22, 2015

 

Opening reception: Tuesday, May 26, 6:00 – 10:00 pm

with live performance by Sriba Kwadjovie

 

Brigada Roja/ Nelson Enriquez & Rebekah Olstad

Bernardo Palau

Carlo Ricafort

COLL.EO

Juan Carlos Quintana

Ingles:

There are nebulous horizons playing tricks on us by promising the illusion of change while simultaneously defending the interest of the status quo.  There is no sea or land that separate or unite us; there are only desires.  We are all in a mirage longing for something tangible which becomes intangible when viewed upon the prism of expectations.  The unlikelihood of possible alternatives will become clear as subversive practices are recognized for what they really are: hegemonic lollipops - as harmless as tooth decay and bad breath - yet can lead to heart failure.

Español: 

A tientas, como perdidos en la niebla vamos engañándonos a nosotros mismos. Por la ilusión, por ese posible cambio venidero que al mismo tiempo nos deja perdidos en la ensoñación (y el estatus quo). Realmente ni los mares, ni las fronteras nos unen o separan; el deseo es lo único que existe. Todos estamos inmersos en un espejismo, deseando, esperando por algo tangible que al mismo tiempo se vuelve inasible cuando lo vemos a través del cristal de las expectativas. La improbabilidad de cualquier otra alternativa se pone de manifiesto cuando reconocemos el verdadero valor de cualquier "acto subversivo"; al final solo parecen caramelos hegemónicos tan innocuos como un dolor de muelas.  

LINK: MIRAGE

GAZA STRIP DESTRUCTION KIT

Today we are releasing our new body of work, Gaza Strip Destruction Kit. This installation consists of two D9 wooden bulldozer replicas, Ralph Lauren (™) paint, cardboard, and concrete. It looks like this:

The project was inspired, among other things, by Eyal's Weizman Hollow Land: Israel's Architecture of Occupation (2007), Stephen Graham's Cities Under Siege: The New Military Urbanism (2010) and George Eisen's Children Play in the Holocaust (1988). Below is an excerpt from Graham's book:

“The main damage to the physical infrastructure of Palestinian cities, roads, water systems and electricity grids was done using massive, sixty-tonne D9 armoured bulldozers. As Mark Zeitoun remarked in August 2002, the behemoth D9s were retrofitted with ‘special blades and buckets optimized for concrete demolition and a powerful asphalt-ripper in the rear. The resultant power house machinery... is the tool of choice for destroying electrical grids, digging up buried water and sewerage services, taking out shop fronts and demolishing cars’.” (p. 285)

Additional glosses and quotes can be read here.

You can see  Gaza Strip Destruction Kit here.

SHOW: THE DISSIDENTS, THE DISPLACED, AND THE OUTLIERS

The rumors are true.

We're implicated. 

"From Saturday May 2nd to Friday, June 19th the Bay Area Society for Art & Activism in partnership with the Electronic Frontier Foundation, Random Parts, and Incline Gallery will present The Dissidents, the Displaced, and the Outliers, a transbay visual art exhibition about housing security and digital privacy at Random Parts in Oakland and Incline Gallery in San Francisco. Curated by Dorothy R. Santos, the exhibition will feature work in both venues by Anti-Eviction Mapping ProjectEliza Barrios,COLL.EOLeslie DreyerTom Loughlin, andElizabeth Travelslight.

In The Dissidents, the Displaced, and the Outliers, Bay Area artists offer a collection of work about the convergence of privacy and gentrification unique to the Bay Area, in particular the impact of surveillance technology and the digital economy on housing security and how affluence secures both privacy and housing.

Exhibitions Dates and Locations

OAKLAND
May 2 – June 5, 2015
Random Parts
1206 13th Avenue, Oakland, CA
Opening reception: Saturday, May 2 • 4-8pm

SAN FRANCISCO
May 16 – June 19, 2015
Incline Gallery
766 Valencia Street, San Francisco, CA
Opening reception: Saturday, May 16 • 5-9pm

Public Events and Programs

Outdoor Film Salon
Saturday, May 9
7-9pm @ Random Parts
1206 13th Avenue, Oakland, CA

EFF Digital Privacy Workshop
Saturday, May 23
2-4pm @ Random Parts
1206 13th Avenue, Oakland, CA

Closing Panel Discussion
Sunday, June 14
4-6pm @ Incline Gallery
766 Valencia Street, San Francisco, CA

 

 All events are free, all ages, and open to the public.

Historically, the artist has served as a figure who illuminates what is emblematic of the times serving as a luminary that provides the necessary historical, political, and cultural contexts that explains the significant shifts and changes within an environment. Since the emergence of dotcom businesses of the late 1990s, Bay Area residents have witnessed the rise and fall of the initial technology driven economy. The resurgence of online businesses and explosion of start-ups have resulted in exponential growth of the tech workforce across industry-leading companies such as Google, Facebook, and Twitter.

This two-city parallel exhibition aims to open conversation about these topics on both sides of the Bay and is supported by free, public programming, including an outdoor film salon, a panel discussion with organizational partners and artists, and a workshop on digital privacy. These free community events enable visitors to delve further into the exhibition themes and be in dialogue with artists and community leaders.

Exhibition Partners

Bay Area Society for Art & Activism – The Bay Area Society for Art & Activism is a diverse and intergenerational community celebrating the way artists and activists engage with issues of social justice, hope, freedom, history, democracy, love, labor, class, the environment and more. Our goal is to cultivate art and activism as vital regional values and to return creative, cultural and monetary resources to Bay Area artists, curators and activists so that they can continue to create the incredible work that makes the Bay Area a beacon of subversive, socially-engaged art and visionary grassroots activism. Emboldened by the wave of evictions in 2013 and the threat to art and activist communities presented by skyrocketing housing costs, the Bay Area Society for Art & Activism is working with our fiscal sponsor, SOMArts Cultural Center, to expand the reach and scope of our offerings and to deepen the claim of art and activism as essential features of San Francisco’s cultural landscape.

Electronic Frontier Foundation – The Electronic Frontier Foundation is the leading nonprofit organization defending civil liberties in the digital world. Founded in 1990, EFF champions user privacy, free expression, and innovation through impact litigation, policy analysis, grassroots activism, and technology development. We work to ensure that rights and freedoms are enhanced and protected as our use of technology grows. Even in the fledgling days of the Internet, EFF understood that protecting access to developing technology was central to advancing freedom for all. In the years that followed, EFF used our fiercely independent voice to clear the way for open source software, encryption, security research, file sharing tools, and a world of emerging technologies. Today, EFF uses the unique expertise of leading technologists, activists, and attorneys in our efforts to defend free speech online, fight illegal surveillance, advocate for users and innovators, and support freedom-enhancing technologies.

Random Parts – Random Parts is an artist–run project space based in a small storefront in the Eastlake neighborhood of Oakland, California. Our vision is to give international, national and local multidisciplinary artists a platform without distinctions among well-known, self-taught and underexposed. We believe that these value judgments are a product of the commercial and educational art systems which emphasize career strategies rather than the complexities of a sustained art practice.  By leveling the playing field, we see Random Parts as an equalizer – aiming to showcase provocative and challenging art in an approachable environment in hopes of engaging the public and promoting critical thinking, dialogue, and risk taking.

Incline Gallery – Incline Gallery is an alternative art space that fosters relationships between community and artists. We create opportunities for emerging as well as established artists to exhibit in a non-cube format that challenges and encourages experimentation in exhibition design. Our role continues to expand by facilitating outside curators, international exchanges and partnerships within a community-based organization.

Contacts

Bay Area Society for Art & Activism – Dorothy R. Santos, dorothy@artandactivism.org and Elizabeth Travelslight, elizabeth@artandactivism.org

Electronic Frontier Foundation – Nadia Kayyali, nadia@eff.org

Random Parts – Colleen Flaherty and Juan Carlos Quintana, partsrandom@gmail.com

Incline Gallery – Christo Oropeza, christo@inclinegallerysf.com

ARTHUR RIMBAUD IN LIBERTY CITY: THE BOOK

On March 5, 2015 Concrete Press released  Arthur Rimbaud in Liberty City, a limited edition book that documents our latest project. It looks like this:

Arthur Rimbaud in Liberty City is a multimedia homage and appropriation of David Wojnarowicz’ Arthur Rimbaud in New York. The project comprises a set of 35 mm slides, framed photographs, and a printed catalog published by Concrete Press featuring forty-eight digital images.

Arthur Rimbaud in Liberty City is a replay and not a mere re-enactment of Wojnarowicz’ project. The word re-enactment is inextricably connected to a normalized, prescriptive view of art history in which it denotes a lower quality copy of a lost “original”. “Replay” alludes instead to the aesthetics of visual media. According to the Oxford Dictionary, replay means “playing again of a section of a recording, especially so as to be able to watch an incident more closely”. Re-enactments are often motivated by nostalgia. A replay, on the contrary, does not communicate a sentimental longing or wistful affection for the past, a period or place. If anything, a replay is an attempt to retrieve, and simultaneously rewrite, the past. Svetlana Boym (2001) distinguishes between two forms of nostalgia: the “restorative” desire to perfectly recreate past experience and the “reflective” consideration of something which has since passed. If a re-enactment has restorative ambitions, a replay has reflective goals. To replay an art performance is to animate an archive, that is, is to recontextualize and rearrange a set of documents (records). To replay is to present an occurrence that closely follows the pattern or trajectory of a previous event or situation without striving for its complete reproduction. A replay is a repeat with variation. Not just a “playback”, but a “playforward”. In other words, a replay does not only deal with the past but also with imagined futures, unrealized situations, and possible worlds. Above all, a replay makes no claim to authenticity: it fully embraces unoriginality and uncreativity. Finally, the practice of replay is not limited to the performance itself, but to its documentation as well. This book is no exception.

In 2004, critic and curator Andrew Roth edited David Wojnarowicz, RIMBAUD IN NEW YORK. The book was published by PPP Editions in an edition of one thousand. Roth completed the project originally started by Wojnarowicz himself. In 1990, the painter, photographer, writer, filmmaker, performance artist, and activist “selected twenty-five negatives and produced a portfolio of 8 x 10 inch prints in a proposed edition of three. He only realized one complete set; the individual prints were sold separately and traded infrequently in the market.” While working on the project, Roth discovered additional material, including several negatives in his archive at the Fales Library at New York University, which were developed and subsequently printed. The updated portfolio featured forty-four black and white photographs as opposed to the original twenty-five selected by Wojnarowicz. Roth’s publication featured the front of Rimbaud's mask on the cover and the inside part of the mask on the back cover, with no text on either side.

COLL.EO has replicated the design of the front jacket, developed from a screenshot of the modded Grand Theft Auto IV. However, this catalog features a different pagination style. The photographs in David Wojnarowicz, RIMBAUD IN NEW YORK are presented in a portrait-oriented format: the vertical images are shown as full bleeds on one side of a double-spread page and the horizontals spanning the gutter and bleeding off either the left or right side, leaving a bold white margin. In COLL.EO's version, the photographs are presented in landscape format. Moreover, the book size is 7 x 7 inch, similarly to the previous catalog for Grand Theft Vito (2014).

Published in an edition of 99, its release coincided with the online exhibition COLL.EO, Arthur Rimbaud in Liberty Citywhich took place at Concrete Gallery in March 2015, a digital space where art can be experienced and remembered - or ignored and forgotten - all day, all night.

PURCHASE YOUR COPY ON AMAZON

ARTHUR RIMBAUD IN LIBERTY CITY

San Francisco, February 25, 2015 - Today we are releasing our new project, Arthur Rimbaud in Liberty City (also known as Grand Theft Rimbaud), a replay of David Wojnarowicz’ (1954-1992) photographic series Arthur Rimbaud in New York (1978-1979) developed within the virtual spaces ofGrand Theft Auto IV (Rockstar Games, 2008). Created by COLL.EO in collaboration with Iranian modder Amir Goreyshi, Arthur Rimbaud in Liberty City consists of 48 black-and-white images projected as  35 mm slides and a set of framed photographs. The third in a series of interventions in Grand Theft Auto IV, Rimbaud in Liberty City challenges already fragile notions of the “authentic self”, updating a previous performance in “real life” that prefigured the fluid role-playing of the digital age. Arthur Rimbaud in Liberty City brings issues of authorship, identity, and appropriation into the Game Art sphere. 

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